Monthly Archive: November 2007

Close Encounters of the Third Help!, by Ric Meyers

Close Encounters of the Third Help!, by Ric Meyers

But first a digression. I went to see American Gangster the other day (engrossing, well done, I’d give it a solid 8 outta 10), which included previews for the upcoming movies Wanted (Mr. & Mrs. Smith meets The Matrix) and Jumper (X-Men ripoff), both of which were absolutely chock full of cgi making the characters do all sorts of incredible, impossible things amid carnage which would turn normal men’s biology into strawberry jam.

   

As I watched dispassionately the following motto came to mind that I wish were put on billboards and t-shirts and those inspirational posters that they sell in airline mail order catalogs, to be seen in every studio, producers’ and executives’ office:

   

“When nothing is impossible, nothing is interesting.”

   

Just wanted to get that down on record. Now we return to this week’s DVD Xtra column, already in progress.

   

I’m a happy camper. Creeping into stores on cat feet or ninja paws this week is a movie I’ve been waiting to appear on DVD for years. It was one of my absolute favorites as a kid (in fact, through only slightly some fault of my own, it wound up being the movie I’ve seen the most through the years), and, while its predecessor (A Hard Day’s Night) got a swell special edition two-disc set via Miramax in 2002, this one has languished in limbo until now — and, to top it off, needed the Beatles’ record company to make it a DVD reality.

   

It is, of course, Help!, the music-filled, Goon Showish/Monty Python-esque film farce MTV has officially credited as being its inspiration. Now, thanks to the Beatles’ Apple company (not to be confused with the like-named company on whose computer I presently type these words) and Capitol Records, Help! has now got a lovely two-disc special edition of its own.

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Li’l Abner Lost in Hollywood, by Michael H. Price

Li’l Abner Lost in Hollywood, by Michael H. Price

Sustained flashback to 1940, and to an early stage of confidence and high promise for Al Capp’s long-running comic strip, Li’l Abner. Conventional wisdom, bolstered by accounts from Capp his ownself, holds that the name Yokum is a combination of “yokel” and “hokum.” That would be Yokum, as in Abner Yokum and his rural Southern lineage.

Such an explanation also might seem to demean the resourceful gumption that Li’l Abner Yokum and his family represent. Capp established a deeper meaning for the name during a series of visits around 1965-1970 with comics historian George E. Turner and Yrs. Trly.

“There are many real-life Yokums around the South,” explained Capp. “Some spell the name like Abner’s, with variations including Yoakam and Yokom, and so forth. It’s phonetic Hebrew – that’s what it is, all right – and that’s what I was getting at with the name Yokum, more so than any attempt to sound hickish. That was a fortunate coincidence, of course, that the name should pack a backwoods connotation.

“But it’s a godly conceit, really, playing off a godly name – Joachim means “God’s determination,” something like that – that also happens to have a rustic ring to it,” Capp added. “When I came up with that ‘yokel-plus-hokum’ bit in some early interviews, I was steering clear of any such damned-fool intellectualism. It helps to keep things looking simple for the massed readership, when you’re trying to be subversive with a cartoon.” (One such “yokel/hokum” reference appears in an article on Capp’s success with Li’l Abner in the November 1942 issue of Coronet magazine.)

A.D. 1940 is a significant point, here, in that the year marked Abner’s first leap from the funnypapers onto the moving-picture screen.

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Happy 38th birthday, Sesame Street!

Happy 38th birthday, Sesame Street!

On this day in 1969, the National Educational Television network premiered a show from the Children’s Television Workshop, with songs, animation, Carol Burnett, and Muppets. Thirty-eight years later, Sesame Street has become the longest running American children’s program, having helped educate generations of children worldwide.

The effect of the show is so powerful and widespread, this song made it up to #16 on the Billboard charts in 1970:

Happy 47th birthday, Neil Gaiman!

Happy 47th birthday, Neil Gaiman!

Today we celebrate the birthday of one of comics most creative contributors, the great Neil Gaiman. To think, we all knew him when he was just writing some of the most brilliant comics out there, before he was responsible for half the films coming out from Paramount this year. But the man is nothing if not versatile– he writes short stories, TV shows, movies, novels, and once even wrote a poem about erotic cannibalism  in strict iambic pentameter.

While we tip him a bit of the birthday hat, we’d be remiss if we didn’t point out this story from Munden’s Bar

Lois Lane’s Noel Neill Speaks To ComicMix!

Lois Lane’s Noel Neill Speaks To ComicMix!

There is no denying that we have had our share of "Lois Lanes," from Phyliss to Margot to Erica, but for a lot of us there is only one gal who could fill the tight high heels of that plucky reporter – Noel Neil. ComicMix Radio gets the extraordinary pleasure of sharing a few minutes with Noel and previewing her amazing collection of Hollywood memories… plus:

• Peter David suits up in iron

What If? a Hulk comic sold out – and actually did

• Tom Arnold is having a garage sale

• Cartoon stars go commando

Press The Button – or Lois’ BFF may get nasty on your butt!

Norman Mailer, Neil Gaiman Fanboy

Norman Mailer, Neil Gaiman Fanboy

Norman Mailer died this morning, age 84, at Mt. Sinai Hospital in Manhattan. You can scour the news to read about his importance to literature in the Twentieth Century, from his ground-breaking novels to founding the Village Voice. But did you know he also helped change comics?

One night, we had a dinner party for the express purpose of introducing Mailer to Neil Gaiman. Neil, as was his habit, was so charming that Norman wanted to read Sandman. He liked the series enough to provide a cover blurb for the next trade paperback collection. Neil later reported that bookstore buyers told him that the Mailer quote persuaded them to stock graphic novels. And the rest, as they say, is history. Ancient Evenings is an awesome book. Start there.

Joe Strummer and Selling Out

Joe Strummer and Selling Out

I was at the old Chicago Comicon back in 1989, walking the corridors of the old Ramada-O’Hare hotel with my old pal Timothy Truman when an intense fan grabbed Tim by the arm.

“How could you,” the fan said, and I paraphrase. “How could you sell out?” He sported a gaze of disappointment and hostility. Tim didn’t ask what he was talking about. He knew. He had started supplementing his income by working for “the majors” – at that time, DC Comics. Not that First Comics and Eclipse Comics were any less corporate with many of the evils associated therewith; DC and Marvel were just bigger and better at it.

“Hey, I wanted to do a tribute to Gar Fox,” Timothy replied, and I continue to paraphrase. “I liked doing it.”

The fan staggered off muttering about things like big business and working for the man and such. I’m about as Red Cat as they come in comics (with the probable exception of Mark Badger), but I understood one thing: if you want to work on a corporate-owned character, you’re going to have to work for the corporation, and (as Martha Thomases noted earlier today) by their rules. That’s how gravity works.

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TV Eye by Martha Thomases

TV Eye by Martha Thomases

A few thoughts on the Writers Guild of America strike, and what it means for comics – and you!

• If the history of comics has shown us anything, it’s the fact that the more satisfied the creative talent is with their deal, the better our choices in entertainment. The rise in independent comics that started with the undergrounds in the 1960s forced innovation on what had been a stodgy industry, not only in terms of subject matter but also in terms of revenue sharing and creator-owned properties.

• Television and movies are much more collaborative efforts than comics, so sharing copyrights and trademarks can be much more complicated. That’s why, in those media, the accepted standard payments are residuals and royalties. Even though the comics industry has been paying royalties for over a decade, I have not seen it make any difference in the bottom line at Warner Bros. or Marvel. When profits are shared, everyone profits. (Aside: Yes, I know studio accountants can magically make profits disappear. That’s a separate rant.)

• It’s kind of hilarious that people expect a flood of Hollywood talent to descend on comics during the strike. For one thing, most of the major publishers book up their talent on regular books for at least six months to a year. For another, the major publishers offer deals that are much worse than what the studios are offering. DC or Marvel may consider original graphic novels, but they’ll want to retain ownership, just as they do with all their other properties.

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Women of Color in Comics and Manga

Women of Color in Comics and Manga

Looks like Valerie D’Orazio is starting her new term as President of Friends of Lulu with a bang. Along with the Ormes Society (and the equally wonderful Cheryl Lynn Eaton), the group is sponsorting a panel, "Women of Color in Comics and Manga." On the panel: Alitha Martinez (Iron Man, Thor, Yume and Ever), Jenny Gonzalez (Too Negative), and Rashinda Lewis (Sand Storm), with Moderator Cheryl. It all starts at 7 PM on Monday, November 12, at the Museum of Comic and Cartoon Art (MoCCA) (594 Broadway, Suite 401, SoHo, baby!).

Manga Friday: Out of the Past

Manga Friday: Out of the Past

This week, Manga Friday heads into the past…sort of. I picked up the first volume of two extremely popular manga series, to see what they’re all about. But we’ll start with something even less likely.

Siku is the pseudonym for a British cartoonist of Nigerian heritage who’s worked extensively in the British comics industry for the last ten years, including the obligatory stint on Judge Dredd. But he’s done something very different now – a book called The Manga Bible. It’s exactly what it sounds like: a retelling of the entire Christian Bible, in a manga-influenced art style, in two hundred pages. The script was written by Akin Akinsiku, another Nigerian-British comics creator, and there’s a lot of script.

Now, I’ve read Bible comics before. (You might not know this, but your humble Manga Friday correspondent won his church’s Bible Olympics two straight years back in his ill-spent youth.) There was a set of ten or so books that I particularly remember from that time, which adapted the entire bible, one chunk per book. And even those comics were pretty wordy – folks in the Bible tend to talk a lot (even with a New International Version translation, like the Manga Bible uses), and descriptive captions are often required to explain what’s going on and who all of these people are.

The Manga Bible is extremely wordy; each page is nearly covered in captions and dialogue balloons, to the detriment of the art. Yes, the characters are drawn in a manga-influenced style, but the storytelling doesn’t owe much to manga at all. It’s exceptionally compressed, like an early ‘60s Superman story, without the expansiveness and flowing layouts of real manga. The art is eye-catching, though not so stylized as to appear completely alien to American eyes. So it’s a shame that it’s so cramped, shoved into small panels by the relentless flow of words, words, words.

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